Dylan R. Hopkin

Premium+
  • Content Count

    49
  • Joined

  • Last visited

Community Reputation

69 Good

About Dylan R. Hopkin

  • Rank
    Member
  • Birthday 02/11/1973

Personal Information

  • Gender
    Male
  • Website
    dylanhopkin.com

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Another thing I also do is blend is in some of the original source, so the clip keeps a subtle amount of the original noise (depending on how bad the noise is of course). Alternatively you can add grain to the denoised footage with a common grain so that the texture blends nicely. Plastic feeling footage is never nice B.)
  2. Same as Anton, I do NR as either my first node or the first node after a CST-node. All at Clip-node-level. That way you can node-cache the NR-node (User Cache), and everything downstream from that will be real time. (Depending on your hardware of course.). I have the NR-node in my pre-built nodetree. However, I only use the NR-node when it’s really needed. Not a fan of overusing NR. Cheers
  3. What I also like about the highlight (HL) tool is that keeps some of the saturation in the effected areas when you reduce the highlights. But as with other tools, if pushed too far, things can look un-natural. It’s all a matter of taste I suppose.
  4. All tools that effect certain tonal ranges "qualify" in a certain fashion. However, not all of these tools let you adjust which tonal range that acts on. The range is a set to a specific area. Therefore my two different suggestions for the Highlight (HL) tool. When you create the qualifier yourself you have more control of the effected tonal range. Cheers Dylan
  5. In DR I tend to use the Highlight (HL) tool to achieve pleasant highlight Rolloff. It can be used either globally (don’t push it too hard globally though), or qualify a specific highlight range, and apply the Highlight (HL) tool to the qualified area. All the above is usually done in Log-space, pre-LUT / pre-contrast expansion (valid for DR YRGB projects). You can blend the two methods too, when applied to separate pre-LUT nodes. From what I have read, Paul Dore has a good DCTL / OpenFX for highlight Rolloff too. But I have not tried it myself. https://github.com/baldavenger Hope this helps B.)
  6. Me too. Disable / Enable nodes can give the spinning wheel of death on MACos. Sometimes frequently. We have talked to BMD design, but no fixes yet. The bug is intermittent, therefore, in my case, difficult to replicate 100%.
  7. I have used a fixed node structure for years. A couple of times a year I evaluate the current version, and try to improve it. Often I tailor the structure for a specific project for a specific workflow. But the core setup is usually constant. * I also scratched my head when I saw the connection between node 3 and 9 in Walter Volpatto`s setup. I must investigate what sorcery this is 🦄.
  8. Thanks Seth, I’ll give that a try!
  9. “The secret lives of Colours” https://www.amazon.co.uk/Secret-Lives-Colour-RADIO-BOOK/dp/1473630819 Great interview with the author here: https://99percentinvisible.org/episode/the-secret-lives-of-color/
  10. Hope BMD add a setting within user settings to disable live-preview in the gallery. Not fond of it either ☠️
  11. For dissolves, find the midpoint of the dissolve, add a cut. Then when you get back to Edit, add a dissolve that has the same duration as the pre-rendered dissolve. Fades to / from black, just add fades with the same length inside edit. But fades to / from black tend to get messy if the grade is strong. Sometimes adding a black solid on the track above, and fade that in / out helps.
  12. And if the pinks are varied in both luma / sat / hue. Key as proposed, then try the Color Compressor plugin to shift to the colorrange you want. (referring to Resolve now). The color compressor is just a different option if the hue vs hue doesn’t work out for you.
  13. Yes there is. 1. Save a still from the grade you wish to copy the HLSkey from. 2. Go to the clip and node you wish to paste the key to 3. Right click the saved still, open nodegraph, find the node-tab and uncheck everything except the HSL-qualifier, drag and drop the node you wish to copy from, on top of the node you wish to apply the qualifier to. https://www.premiumbeat.com/blog/resolves-new-node-graph-feature/
  14. Search for Photoshop cross-processing tutorials, you should find a few 🤓. It’s basically fiddling around with unganged curves, which can get you some of the way. Try emulating the Tony Scott movie “Domino”. Hardcore cross-processing. Most probably a mix between chemical cross-processing and grading. Maybe someone in this forum knows how the look process for “Domino” was done. DI by Sonnenfeld (Co3), really cool movie. http://www.imdb.com/title/tt0421054/
  15. I think the timeline route refers to when you have live video, e.g. a QT trailer, you wish to grab stills from for reference. Import the video, add to timeline, grab stills to a gallery / powergrade. Very efficient when a client refers to specfic movies and does not supply stills .